This is quite hard to write. Simply put, I have way too much to say about Janet Jackson. I wrote my final undergraduate term paper comparing Rhythm Nation 1814 and janet. Watching her music videos is one of the reasons I got into dancing in the first place. Also, I probably listen to her at least five times a day. The Queen of Pop (eat your heart out Madonna) has been one of my major influences and dedicating a post about her simply won’t capture how much she means to me.

Sometimes, I wish I could take the admiration I have for Janet and turn it into confidence in myself. Self esteem can make all of us feel either like we’re on top of the world or lower than the dirt we walk on. With the life I’ve had, I’ve grown to expect and adapt to any shift in myself to where I can freely admit this. That expression doesn’t make my situation any easier to deal with; I just grow stronger, which is its own reward.

I mention this because taking a deep dive into Janet Jackson’s personal life can induce plenty of discomfort and rage. From surviving her controlling father to diving into an abusive marriage at 16 years old, it’s quite the miracle that we’re paying homage to such a healthy and strong person days after her 52nd birthday, especially when others in her position aren’t so lucky:

On her sixth studio album The Velvet Rope, Janet’s hard work and determination towards self-improvement and rediscovery pays off in dividends. Relentlessly honest, experimental, ambitious, and powerful at every step, I make no apologies in calling this album my favorite Janet Jackson album of all time. Twenty years after its initial release and I’m still taking away more lessons from its content. The most consistent lesson I’ve taken away from it, however, is stated in the title track: “we have a special need to feel that we belong.”

In its 22 tracks spanning over 70 minutes, The Velvet Rope covers such a long range of topics: codependency, sexual curiosity, BDSM, homosexuality, depression, domestic abuse, the AIDS epidemic, online dating, and self esteem. With such a large breadth of coverage of social issues, it’s unsurprising that the album stands the test of time over 20 years later. As a matter of fact, I would even argue that she was ahead of her time with some songs. “Empty” goes into detail about a chat room romance hindered by the limitations of a slow dial up Internet connection. Meanwhile her cover of Rod Stewart’s “Tonight’s the Night” doubles (or triples) down on the 70s hit’s sexual lyrics by recontextualizing it into an ode to threesomes, long before Lonely Island had the chance to. But regardless of how much of a pioneer she was with lyrical content, all that ultimately matters is that each song plays into the thesis statement of the album in different ways.

Of course, the work towards recording such an album requires fortitude and patience. As much as I commend and admire Janet Jackson, there’s no denying her humanity. Reflecting on the album’s beginning stages, she would go into excruciating detail on how difficult the album was to record. Despite the fact that she signed an $80 million recording contract a year prior, she would miss studio sessions for days on end, break down into tears during takes, use evasion tactics to avoid reliving her traumas, among other details that make me want to cry along with her. That’s not to say that she wasn’t living up to the demands of her contract; that certainly wasn’t the case. It’s to say that the pain became too overwhelming at times to find her groove.

Nowhere is this clearer than on the song “What About.” Tackling domestic abuse head first, Janet goes from meek and shaky during the verses to furious and defiant on the hook and bridge. She portrays the “romantic interest” as dedicated to making the relationship work, perhaps even alluding to a marriage proposal. Then she portrays the protagonist as aware of the misery and pain she experiences behind closed doors. There’s no doubt in my mind that memories of her first marriage came to mind during the recording sessions. Out of all of the tracks on the album, “What About” is consistently the hardest to listen to.

Thankfully for listeners, The Velvet Rope doesn’t skimp on heart pumping dance tracks. Lead single “Got ’Til It’s Gone” is much better known for its Grammy award winning music video (and a sampling lawsuit) but the groove is undeniable. Joni Mitchell and Q-Tip are welcomed guests on the song, combining folk and Hip Hop into an ambient R&B jam. “Together Again” was the sole #1 hit on the album, and for good reasons: it’s a soulful House track sung in memory of those who died of AIDS. Even though it wasn’t a single, “Free Xone” is an ambitious dance track that does its best to normalize/celebrate homosexuality during a time when homophobia was still running rampant.

But that does beg the question: were critics and listeners ready for The Velvet Rope? Even though Janet has had steamy songs since the 80s, probably not. Listeners certainly responded well to the album, considering that it went 3x Platinum in under two years, but I’ve definitely read reviews that frame the album as too indulgent in its sexual content. As valid those criticisms may be, the fact that she was fearless in singing about her sex life, her passions to change the world, and the conflicting feelings that may come in between will always be admirable. She empowered her listeners to be fearless in living out their passions and desires as long as they were safe and didn’t hurting anybody in the process. That’s always been the case with her as a Pop icon; that didn’t change when her music grew up with her listeners.

I consider myself lucky to have grown up with The Velvet Rope at my side. “You” was always a go to, not just for its magnificent sample of “The Cisco Kid” by War, but also for it being a self-accountability anthem of sorts: “Check in the mirror my friend. No lies will be told then. Pointin’ the finger again? You can’t blame nobody but you.” Recent listens have gravitated me towards “My Need” for its break beat and potent bass line, not to mention that I try my best not to cry when she sings on the bridge: “I need you like the flowers need the rain. I need you like the blues need the pain. I need you like the stars need the night. I need you like the waves need the sea.” And even though I probably should not have been listening to “Rope Burn” at the age of three, learning more about the song’s meaning as I got older was delightful…and frightening.

However, I have to say that my favorite song on the album has consistently been the third single, “I Get Lonely.” I’ve always gravitated towards late 90s R&B and this is easily one of the best songs of that era. The hook is explosive, the breakdown is iconic to this day, and it might be Janet’s best vocal performance on the album. It got to a point where I actively avoided listening to the song for a spell. From rainy nights crying myself to sleep, to day breaking longboarding sessions along the Hudson River, this song has been with me in nearly every instance of my short life. When I reflect on why I avoided it, all I can muster up is the fact I was simply exhausted of relating to it as well as I did: “But there’s no reason why I fell asleep late last night, cryin’ like a newborn child. Holdin’ myself close. Pretendin’ my arms are yours. I want no one but you.” I can only imagine how tough it was for Janet to record it, but she was able to power through the pain and trauma to create a timeless song.

The album ends with “Special” and features the hidden track “Can’t Be Stopped.” They both serve as twofold self-affirmation anthems, recapitulations of the title track, and a feel good/empowering way to end the album. For all my praise and worship for Janet Jackson and The Velvet Rope, these two songs speak for themselves better than any way I can possibly end this post. All I can say now is go listen to the album and judge for yourselves. Janet’s quality of artistry is ultimately subjective and I can’t make any of you see what I see. Hopefully, the music will inspire you to realize how special you are.

]]>1837Revering History: The Nicholas Brothershttp://bluesdancenewyork.com/2018/05/revering-history-the-nicholas-brothers/
Fri, 11 May 2018 16:00:08 +0000http://bluesdancenewyork.com/?p=1829Read More]]>There will never be enough words to describe The Nicholas Brothers…

Allow me to try my hand in describing Fayard and Harold Nicholas. Two talented tap dancing brothers practically born into the entertainment industry; household names during the Golden Age of Hollywood, performing with the likes of Dorothy Dandridge, Cab Calloway, and Gene Kelly; pioneers of “flash dancing;” two of the most acrobatic dancers to ever live; never imitated nor duplicated innovators.

And yet the more I keep asking people, the more I realize that few people recognize their greatness. Well no need to fear. Your friendly neighborhood blogmaster is here!

This is less about giving a retrospective on the brothers and more about providing a resource for the greatest moments in their careers. Quite frankly, their dancing skills and abilities speak for themselves. Even if I made an attempt earlier, nothing I say can/will do them justice. So please enjoy the following clips of their best dance numbers and try not to lose your minds. You’re also encouraged to seek the movies from which the clips are from for more entertainment.

In the eight plus years I’ve been listening to her music, Janelle Monáe has constantly proven to be one of the most exciting figures in Pop music. Her fifteen-year career has led her down fruitful avenues of creativity and artistic exploration as a musician, performer, writer, producer, director, actor, model, and android. In her modest moments, she captures the hearts of the world with her stage presence and powerful singing voice. In her wildest moments, she frames her experiences as a Black woman through the lens of Afrofuturism, science fiction, and wild funk. Her latest album Dirty Computer has been released today, April 27, 2018. After you read this post, do yourself a favor and listen to what might be the best album of 2018. In celebration of this premature claim, allow me to turn the clocks back to 2010, and examine one of her breakout singles, “Cold War.”

If this song happens to be your introduction to Janelle Monáe, this is possibly the best place to start. Other songs such as “Tightrope,” “Electric Lady,” “Q.U.E.E.N.,” and “PYNK” are all fantastic and most definitely worth listening to, but “Cold War” is a powerful, poignant, personal statement from beginning to end. Being her second single, it’s quite a surprise to hear (and see) the vulnerability in her performance, proving from the beginning that she was meant to be an artist that challenges her listeners.

The lyrical analysis is straightforward: Janelle Monáe sings about her struggles as a Black woman in society and the music industry. When she sings “this is a Cold War, you better know what you’re fighting for,” it’s plain to see that she’s imploring her listeners, even herself, to keep focus on what we want out of our lives and not let anyone else impose their truth onto us.

So why is this song worth talking about, you may ask? Because Black women simply do not have that same luxury as other people in the world, let alone the United States.

“If you wanna be free, below the ground’s the only place to be.” These lyrics evoke the memories of Sandra Bland and Erica Garner, two women who, since this song’s release, have lost their lives expressing the importance of Black rights in this country. The same spirit that lived through them lives through Janelle Monáe as she uses her talents for self-expression, which in turns inspires her to discuss the affairs plaguing this country today.

And when paired with the music video, the poignancy and vulnerability are magnified. It’s such a simple concept with absolute conviction and controlled rage: she strips naked, only shown from her shoulders up, and lip-syncs the song. Tearing up, choking on her words, and maintaining eye contact is a tough task to watch, let alone perform. Eight years later, “Cold War” still brings about these strong emotions.

Hopefully this song has a similar effect on you all as Janelle Monáe star grows brighter and illuminates the music industry.

]]>1820More Than a Video Girl: Why FKA twigs Is the Future of Pop Music & Dancehttp://bluesdancenewyork.com/2018/03/more-than-a-video-girl-why-fka-twigs-is-the-future-of-pop-music-dance/
Thu, 22 Mar 2018 16:00:28 +0000http://bluesdancenewyork.com/?p=1813Read More]]>You are phoenix. You are fire. You are everything. I just want for you to love you.

So now that we’ve established that black history is forever, allow me to give you all a lesson regarding black history in the making.

2014 was a year that really opened my senses to all types of weird music. While Taylor Swift kept breaking records, Iggy Azalea dodged cultural appropriation accusations, and Macklemore drowned in white guilt, I found myself starving for something away from the norm. I didn’t know what that something was until I started listening to acts such as Mac DeMarco, Flying Lotus, Ariel Pink, Hozier, Clark, and Tycho. As I was finding my groove and rhythm in undergrad, I gravitated towards music that challenged me to see the world around me in a different light.

Which brings me to FKA twigs, one of the brighter spots of 2014. While she’s been releasing music since 2012, her 2014 release LP1 became her breakout album. From Aaliyah homages to torrid lyrics sung in a breathtaking falsetto, FKA twigs captivated me right at the moment I laid ears on the first single, “Two Weeks.” Sexy, sultry, and seductive, the song is still an emphatic statement of a visionary to this day, and the rest of LP1 follows suit.

While many try to pigeonhole her sound into a particular genre, she always brings another layer to the table to challenge her listeners. One minute she could be quiet storm, the other minute she could be electronica, and then ten minutes later she could be chamber music. Along with her extensive dance background and avant-garde music videos, she found her voice, carved a modest niche among pretentious music lovers (myself included), and used her platform to make listeners feel weirdly excited for what she can do.

Yet all people seemed to want to talk about in the months succeeding LP1 was her love life. News broke out about her relationship with former Twilight star Robert Pattinson. And naturally, because the world still can’t handle interracial relationships, she received death threats and the ire of Twilight fans. It was almost as if the critical acclaim of LP1 didn’t matter simply because she was a black woman linked to a waning teenage heartthrob.

Nevertheless, she persisted.

If you haven’t already listened to LP1 (or any music by FKA twigs for that matter), prepare your ears for 41 minutes of some of the sexiest music released this decade. There is, however, one song that sticks out like a sore thumb: “Video Girl.”

Ironically enough, “Video Girl” is one of the best songs on LP1, but it’s not exactly sexy. Sure, twigs’ falsetto is alluring and powerful, but the subject matter strays away from the themes presented on the album. Instead, it contextualizes an impasse between her career as a musician and her extensive dance background, highlighted by the chorus.

Was she the girl that’s from the video?
Was she the girl that’s from the video?
Stop, stop lying to me

Was she the girl that’s from the video?
Was she the girl that’s from the video?
You lie and you lie and you lie

Allow me to play “genius.com” for a moment: while FKA twigs has been releasing music since 2012, she’s been in the music industry since 2005 as a backup dancer. Among her clientele are Kylie Minogue, Ed Sheeran, and Taio Cruz; most people however recognize her from the music videos for “Do It Like a Dude” and “Price Tag” by Jessie J. As she began to make strides with her music career, her past as a backup dancer began to haunt her to the point where she would deny ever dancing backup to Jessie J and Kylie Minogue in the first place.

While the music industry wholeheartedly promoting an artist that blends and defies genre conventions in innovative ways remains to be seen, FKA twigs thankfully has a healthy semblance of support from her peers. On the flip side, in terms of bringing the world of dance and music together in her brand, it’s astounding that the intersection took awhile to manifest. By 2014, she had released two EPs (aptly named EP1 & EP2) with music videos attached for the eight songs featured. Looking back at these videos, she is not dancing in any of them. All of them are high concept and consciously uncomfortable. Yet the most uncomfortable aspect is that initially it seemed like she wasn’t willing to bring her two worlds together.

That was until early 2014, when she posted a live video of “Hide” from EP1. Performing the song live within Mayan ruins, she allows the song to pulse through her mind, body, and soul. Aside from it being a marvelous live vocal performance, her movement is ethereal without even taking a step. From her shapes, isolations, and body rocking, I’m always amazed when I watch the video. It’s intimate, precise, and full of passion. Arguably above all else, it was a catalyst for what was to come during her breakout year.

Going back to “Video Girl,” the video features the most dancing she’s done since her days as a backup dancer. Seamlessly fusing vogue, krump, contemporary, popping, and locking, there is so much to unpack in a four and half minute music video, especially in conjunction with the lyrics of the song. By dancing in the video, she uses her movement as a confession, freeing her from her insecurities about dancing.

Meanwhile, the sponsors started coming to FKA twigs one after the other. Her first endorsement promoted Google Glass right before the “Video Girl” music video came out, acting as a preview for not only the video which was released nine days later, but also for a song featured on her most recent EP, M3LL155X. Her next commercial wouldn’t be until Spring 2016 with a contemporary dance piece for Calvin Klein, while Winter 2017 saw her promote Nike Women with group piece. The best part about them besides the dancing? She directed all three of them. While I’m sure the free merchandise from Google, Calvin Klein, and Nike were nice, there’s no doubt that she appreciated the freedom to express herself and give other women an opportunities to dance and create.

Then of course is her latest sponsor: Apple Homepod. There’s nothing to say about this one that I haven’t already said…except that is gorgeous and heartwarming

Within thirteen years, but mostly within four, FKA twigs has such a unique lane in the pop music landscape. Hard work, resilience, and dedication were givens; it was her evolving self esteem that’s placed her in an echelon no one else is occupying. From coming to terms with her dancing roots to brushing off racism in both her professional and personal lives, seeing her flourish and continually create is a marvelous sight to behold. Even when I’m mentally checked out whilst listening to LP1, I keep finding something new to dissect from the album, which then makes me want to watch her videos twice over and learn as much of her choreography as I can possibly learn.

2018 has just started. FKA twigs’ star power continues to grow. I can only hope more people see the light she’s brought to the world and prepare themselves for the light she will bring in the future.

In the first national celebration of Black History Month in 1976, president Gerald R. Ford had this proposal to the nation: “Seize the opportunity to honor the too-often neglected accomplishments of black Americans in every area of endeavor throughout our history.” 42 years later, black people/African Americans most definitely feel the honor and recognition from the rest of the country. In the same breath, too many of us are still victims of police brutality, gentrification, and institutional racism, among other harms. A telling sign about our safety, or lack thereof, in this country includes us remembering the sixth anniversary of Trayvon Martin’s murder. Meanwhile on a smaller yet personal scale, I am approaching the anniversary of my last (and most traumatizing) stop & frisk. I note this because this was how I eventually found myself connected with Blues Dance New York.

In the following weeks after my fateful encounter, I made a silent vow to myself to not let fear and hatred consume me. I wanted to be stronger, but not at the expense of my loved ones. I wanted to be at peace. That included seeking more therapy, acquiring a gym membership, and following a new friend’s advice by taking up blues dancing. Nearly one year later, I am in a much better place physically, mentally, emotionally, and on the dance floor. In addition, I joined a community full of fun, talented, weird, and dedicated individuals who inspire me to be a better person with or without my dancing shoes on.

Unfortunately, I’m seeing animosity brew within the community. As more time passes, I find myself one of the few black people coming out to the social dances. It wasn’t until a recent and controversial blog post that put the lack of attendance from people of color into perspective and made a lot of us come to a haunting realization: white people don’t make black people feel welcome within the blues dance community. What was a dance meant to escape the evils of racism and celebrate the culture of proud people seems to be whitewashed, perhaps even gentrified.

While blues dancing has been my respite from the outside world, this controversy is absolutely valid. I’ve definitely felt microaggressions and senses of uneasiness during my relatively short time dancing, but that’s never stopped me from participating and dancing as much as I can. Is this past the point of mitigation? That’s not up to me to say, nor is it in my new job description.

I’m here to provide a voice for an increasingly voiceless demographic within our community. I’m planning to offer history and retrospectives about black culture; focused on, but not limited to, music and dance. I hope to give a platform to those within our community that feel like they don’t have a voice. Ultimately, I’m so inspired by my blackness that I want to share my knowledge and experiences with anyone willing to listen. While another February in the books means another Black History Month behind us, black history is forever. Hopefully this new blog will do it justice.